Kathryn O’Donnell Howard Besser
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When asked to describe the process of securing permission from the individual producers, Brian Drolet first described the process of producing a series. When producing a series, Deep Dish TV first comes up with a theme. Then, efforts are made to raise funds and a series producer is hired. The series producer hires several producers to work on individual programs within the series. These producers contact videographers who might have content that relates to the program they are producing. The producers then select the videos best suited to the program. In a series of twelve programs there is an average of 35-60 videographers, 12 program producers, 5 or 6 editors, and a series level editor contributing. The production of one series can involve over 100 people. The Series Producer is an employee of Deep Dish, and therefore Deep Dish has the nonexclusive rights to distribute the series. If the individual Program Producers are commissioned by Deep Dish, then Deep Dish has the nonexclusive rights to distribute the program. If the program is submitted, then the producer holds the rights and they have to sign over nonexclusive distribution rights to Deep Dish or try to construct a shared payment aspect. The videographers own their work, but when they contribute to a series, they agree that segments will become part of a program for which Deep Dish has the nonexclusive distribution rights. The DIY Series essentially re-packages programs that Deep Dish already has the rights to distribute. When it comes to the screener excerpts, the best thing to do is write the producers and let them know what is happening and ask them to grant permission. Here is a chart that shows the four videos selected for this episode. I am in the process of reaching out to the American Labor Education Center to receive their permission to screen and distribute Four Dollars A Day? No Way! Joining Hands Across Borders. I will also contact Paper Tiger TV and Jesse Drew to let them know about the exhibition and to ask their approval to screen the excerpts.
Directory: tisch -> preservation -> program -> student work student work -> The New York City Police Museum: 16mm Film Collection Revealed Introduction student work -> The National Film Registry: Its History and Importance student work -> The historical record generated by film, video, photographic, and sound documents over the last 150 years has become a valuable source of cultural memory in much of the world student work -> Sharing Our Visions Outreach for Moving Image Collections student work -> The Development of Scientific Inquiry and the Cabinet of Curiosity student work -> Soundies: a rare Musical Film History Share with your friends:
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